Antifascist and socialist monuments pervaded the landscape of the former German Democratic Republic (1949-89), presenting a distorted vision of the national past. Official commemorative culture in East Germany celebrated a selective set of political heroes, seeming to leave no public space for mourning those who were excluded from the country's founding myths. Socialist Laments: Musical Mourning in the German Democratic Republic examines the role of music in this nation's memorial culture, demonstrating how music facilitated the expressions of loss within spaces of commemoration for East German citizens. Music performed during state-sponsored memorial rituals no doubt bolstered official narratives of the German past. But it simultaneously provided an outlet for mourning in highly politicized environment. The book presents both a history and theory of musical mourning in East Germany. Using a site-specific approach to analysis, author Martha Sprigge demonstrates how the multiple semantic networks opened up by these musical works facilitated many memorial associations without necessitating the overt articulation of a mourned subject. Throughout the country's forty-year existence, music offered East German citizens an audible outlet for working through traumatic losses-both collective and individual-that was distinct from other artistic expressive possibilities. The book reveals the ways that East Germany's extensive commemorative repertoire helped composers, performers, and audiences navigate between the inevitable need to mourn on the one hand, and the seeming impossibilities of mourning on the other.

The Ruin -- The Socialists' Cemetery -- The Church -- Concentration Camp Memorials -- The Artists' Cemetery.

As one of the most significant and widely performed composers of the nineteenth century, Brahms continues to command our attention. Rethinking Brahms counterbalances prevailing scholarly assumptions that position him as a conservative composer (whether musically or politically) with a wide-ranging exploration and re-evaluation of his significance today. Drawing on German- and English-language scholarship, it deploys original approaches to his music and pursues innovative methodologies to interrogate the historical, cultural, and artistic contexts of his creativity. Empowered by recent theoretical work on form and tonality, it offers fresh analytical insights into his music, including a number of corpus studies that interrogate the relationships between Brahms and other composers, past and present. The book brings into sharp focus the productive tension that exists between the perceived fixedness of musical texts and the ephemerality of performance by considering how historical and modern performers shape established understandings of Brahms and his music. Rethinking Brahms invites the reader to hear familiar pieces anew as they are refracted through historical, artistic, and philosophical prisms. Bringing us up to the present day, it also gives sustained attention to the resounding impact of Brahms's compositions on new music by exploring works by recent composers who have engaged deeply with his oeuvre. Combining awareness of overarching contexts with perceptive insights into Brahms's music, this book enlivens our understanding of Brahms, providing a dynamic, multifaceted, complex, and invigoratingly fresh portrait of the composer.

"In his hard-hitting and controversial book, George Watson examines the foundation texts of socialism to find out what they really say; the result is blasphemy against socialism's canon of saints. Marx and Engels publicly advocated genocide in 1849; Ruskin called himself a violent Tory and a King's man; and Shaw held the working classes in utter contempt. Drawing on an impressive range of sources from Robert Owen to Ken Livingstone, the author demonstrates that socialism was a conservative, nostalgic reaction to the radicalism of capitalism, and not always supposed to be advantageous to the poor. There have even been socialist monarchs - Napoleon III was one. Two chapters of the book study Hitler's claim that 'the whole of National Socialism' was based on Marx, and bring to light the common theoretical basis of the beliefs of Stalin and Hitler which led to death camps. As a literary critic, George Watson's concern is to pay proper respect to the works of the founding fathers of socialism, to attend to what they say and not what their modern disciples wish they had said. The dust grows thick on many of these tomes, while present-day socialists follow a few ossified slogans plucked selectively from the best-known books. Socialist ideas are now rescued from priggish and woolly-thinking moralists so that genuine debate can be revived. This invigorating book forces the reader to abandon long-standing assumptions in political thought. It is certain to ruffle feathers, blue as well as red."

In his 1970 introduction to Lament for a Nation, Professor George Grant modestly expressed doubt whether his study had an enduring importance beyond the particular circumstances occasioning its appearance.

Excerpt from The Socialist Movement One of the greatest of the difficulties which beset the path of the Socialist is the refusal on the part of his opponents to give an accurate statement of what Socialism means and what the purpose of Socialism is. The main object of this book is to explain both. The Editors have asked a Conservative to explain Conservatism and a Liberal to interpret liberalism, and have on the same principle turned to me to write about Socialism. It is, perhaps, best that doctrines which are the objects of fierce assault should be explained by writers who believe in them, for, whether a doctrine is or is not to have a lasting influence depends not on the success with which clever critics attack some of its outworks, nor on the amount of error which creeps into its popular advocacy, but on the amount of truth which it really contains, and that is more familiar to friend than to foe. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This is the first in-depth study of Chinese bridal laments, a ritual and performative art practiced by Chinese women in premodern times that gave them a rare opportunity to voice their grievances publicly. Drawing on methodologies from numerous disciplines, including performance arts and folk literatures, the author suggests that the ability to move an audience through her lament was one of the most important symbolic and ritual skills a Chinese woman could possess before the modern era. Performing Grief provides a detailed case study of the Nanhui region in the lower Yangzi delta. Bridal laments, the author argues, offer insights into how illiterate Chinese women understood the kinship and social hierarchies of their region, the marriage market that determined their destinies, and the value of their labor in the commodified economy of the delta region. The book not only assesses and draws upon a large body of sources, both Chinese and Western, but is grounded in actual field work, offering both historical and ethnographic context in a unique and sophisticated approach. Unlike previous studies, the author covers both Han and non-Han groups and thus contributes to studies of ethnicity and cultural accommodation in China. She presents an original view about the ritual implications of bridal laments and their role in popular notions of "wedding pollution." The volume includes an annotated translation from a lament cycle. This important work on the place of laments in Chinese culture enriches our understanding of the social and performative roles of Chinese women, the gendered nature of China’s ritual culture, and the continuous transmission of women’s grievance genres into the revolutionary period. As a pioneering study of the ritual and performance arts of Chinese women, it will be of interest to scholars and students in the fields of anthropology, social history, gender studies, oral literature, comparative folk religion, and performance arts.